‘There are still precious few women at the helm of record labels, let alone Indian women, but Vinita stands out as a proud anomaly… a champion of the underdog, an underdog herself, a surrogate mother to unsung musicians, a relentless workerbee, a fan, a carer, a catalyst…’ (Richard Milward, from the Rocket Girl 20 book)

Nick Waterhouse grew up in a coastal town near Long Beach, CA. It was a serene setting: the ocean stretching out for miles to the North and South, manicured lawns, two-story homes, long swathes of concrete highway, fast food chains and mega malls. He was there for two decades. Then, he left. He found a home in his early 20s in San Francisco, working at record stores alongside a collective of likeminded young crate-diggers and 45 collectors. And then he started making his own records: “Time’s All Gone” in 2012, “Holly” in 2014, and “Never Twice” in 2016. These were evocative albums, steeped in a perfectionism and clarity of vision that informed every choice, from the studios to the players, the arrangements to the album art. Everything, deliberately designed and purposeful, bubbling over with power and feeling. And as those records rolled out into the world, Waterhouse found a dedicated audience of his own as well as a bevy of influential champions and collaborators, including garage-rock mystic Ty Segall, retro-futurist R&B bandleader Leon Bridges and the LA-based quartet Allah-Las, whose first two albums he meticulously produced and played on. There is a “Waterhouse Sound” and it comes from both the man and the method — recording everything on magnetic tape, through analog equipment, and playing live (!), eyeball to eyeball, whenever possible. Now, he’s finished his fourth album. He’s calling it “Nick Waterhouse.” And whether intentional or not, it is perhaps his most reflective — and reflexive — album, employing all of the mature production techniques learned throughout his professional career while retaining a viscous edge that allows it to land with colossal impact — more raw, heavy and overtly confrontational than anything he’s made before. “Nick Waterhouse” was recorded at the finest working studio in Los Angeles, Electro Vox Recorders, and co-produced by Paul Butler (The Bees, Michael Kiwanuka, Devendra Banhart), the master of all things warm, rich and wooly. Nick’s songs here are personal, but personal in the way that “Please Mr. Postman,” “What’s Going On” and “Cathy’s Clown” are — intimate, direct, yet still malleable enough for listeners to suffuse their own life stories into the mix. The album is thick with talented players, including Andres Rentaria, Paula Henderson and the staggering, howling saxophone of Mando Dorame. All of the new Waterhouse songs sound big. Brawny and muscular. The lyrics are suspicious, outraged and, at times, very vulnerable (muscle is just flesh, after all). Waterhouse uses an economy of words to deliver complex, coded messages. He offers up equal parts criticism of the time we live in and innate human flaws. He paints relationships under the cover of darkness, slashing through neo-noir fantasies that are romantic, blood-spattered and bracingly aware of the powerlessness felt among people, amid the rapid onslaught of commercialism and technological progress. And, as has become his signature, he throws in a tune written by a close friend. On this record, he covers “I Feel an Urge Coming On” in tribute to the song’s author, Nick’s own mentor and collaborator Joshie Jo Armstead, who wrote music with Ray Charles and sang as both an Ikette and Raelette in the ’60s and ’70s. He’s four albums in, but it makes sense that this specific record is the one that takes his name. You can really here Nick on this one. Not just the band. Not just the songs. Not just the sound. HIM. You can hear his mind at work. His passion. His focus. More importantly, you can feel it.

Pull Quotes:His style is all his own" - NPR"Brisk, self-contained, a little mysterious, and catchy enough to revisit again and again" - Paste Magazine ""Waterhouse remains as spirited as he is studious, crooning and belting at all the appropriate moments with a little bit of swagger." - All Music"The second coming of soul, infusing a distinctly California surf-rock spin to the genre" - Vogue

With Press Club having already risen way out of Australia’s underground punk scene, to become one of the country’s buzziest new bands, today they announce that they have signed to Hassle Records for the UK / EU release of their debut album Late Teens on Jan 25. Support from the influential Triple J radio station has come thick and fast for the band, with a number of singles gaining heavy rotation, and a coveted “Like A Version” session slot generating over 150,000 views. Rolling Stone Australia and Beat Magazine have also touted the band as Ones To Watch, as the first pockets of UK media support have begun to emerge from Kerrang! magazine and the BBC Radio 1 Rock Show’s Dan P Carter. Press Club are also sharing lead single and accompanying video for Headwreck, two and half minutes of frenetic, raw, self-assured and commanding punk, stacked with buzz-saw guitars and brimming with honesty. The track is about a place we’ve all been, in a relationship with someone that doesn’t treat you right, doesn’t respect you. It’s a call to arms to respect yourself, to demand more. The video was shot in a Collingwood warehouse, with the help of two friends, Nick Manuell and Will Maconachie, who have created a video that captures the band’s brash energy, and embodies how the song was recorded: live and in one take. It’s a glimpse at the kind of performances that have won them so many fans in support of the likes of Japandroids, Joyce Manor, Cloud Nothings, The Smith Street Band and Dream Wife on the road in their native Australia. Press Club will also play their first ever live shows in the UK this coming Spring, with more details to be announced shortly. Bassist Iain MacRae comments, “Absolutely over the moon to be part of the Hassle posse! It's great to finally have someone we trust in our corner after being independent for so long. Let the Antipodean takeover of Europe commence!” Late Teens is what happens when four Melbourne musicians come together to create a body of work entirely devoid of outside influence, being answerable to only themselves. Over six weeks, bassist Iain MacRae’s house was converted into a temporary song-writing sweatshop where the band wrote forty songs that were distilled into the dozen that make up the track list on Late Teens. Relying upon the experiences of their friends and people they know as subject matter, Late Teens thematically approaches displacement, relationships, internal turmoil, gentrification and inequality. Press Club is the musical embodiment of the attitude of a generation experiencing impermanence in every way

Ever wonder what it’d sound like to move to Mars? Look no further.Introducing, Mars, Upper Wilds second full length album following theirdebut Guitar Module 2017. Upper Wilds is the Brooklyn trio of Dan Friel(Parts & Labor), Zach Lehroff (Ex Models, Pterodactyl) and Jeff Ottenbacher.Their new album dramatically expands their musical scope with noise-popepics about our colonization of the red planet. Featuring collaborations byKatie Eastburn (Young People, KATIEE), Mark Shue (Guided by Voices),Jeff Rosenstock, Aaron Siegel, and Jason Binnick, Mars is an album that isbristling with energy and passion.Mars was recorded by Martin Bisi (Sonic Youth, Swans, Boredoms). Therhythm section, driven by Lehroff’s monstrous bass tone and Ottenbacher’slive drums, constitutes an atmosphere so intense, it won’t be hard to imaginetrudging through the inhospitable planet. Front and center are Friel’sdistorted guitar riffs and vocals processed through an array of guitar pedals,creating a world of cosmic sound. The album is layered with a fascinationfor space with alien sounds, NASA satellite samples, and song narrativesthat conjure up stories inspired by space exploration and science fction.The appropriately space age inspired cover art was created by Nolen Stralsof both the band Double Dagger and award-winning design studio PostTypography. The artwork hints at how Mars is only the beginning. UpperWilds intends this to function as the frst in a series of releases themedaround the planets.Mars is a cathartic explosion to lose yourself in. Friel has always loved thepop song structure, distortion, and the raw hopeful energy of DIY spaces,and on Mars Upper Wilds take that and soar into an entirely new arena.

“For years now Dan Friel has been the guy makingexperimental DIY shows in the back of art galleries notjust tolerable but transcendent.” - Stereogum“As frontman for the late, great Parts & Labor, Brooklyn’sDan Friel cultivated an ear for melody, as a prolifc soloartist, he’s embraced breakneck velocity. Those tendenciescollide ferociously in Upper Wilds” - Bandcamp“Distorted but improbably catchy songs that blend noiserock experimentation with a cheeky pop sensibility.” -WNYC